<br />RHIZOME DIGEST: February 24, 2006<br /><br />++ Always online at <a rel="nofollow" href="http://rhizome.org/digest">http://rhizome.org/digest</a> ++<br /><br />Content:<br /><br />+opportunity+<br />1. Alison Sant: Reminder: SoEx OFFSITE proposals due Feb. 28<br />2. Kangok Lee: CALL FOR ENTRY : Seoul Net Festival 2006<br />3. Lauren Cornell: Smith seeks artist-in-residence<br /><br />+announcement+<br />4. Marjan van Mourik: VIPER NTERNATIONAL FESTIVAL FOR FILM VIDEO AND NEW<br />MEDIA<br />5. zanni.org: MAXXI Museum, Rome - Art and Virtual Identities<br />6. lmartin@sfai.edu: New Museum Curator Laura Hoptman Gives Public<br />Lecture at SFAI<br />7. Marjan van Mourik: Sonic Acts XI - The Anthology of Computer Art<br /><br />+thread+<br />8. Jason Van Anden, Pall Thayer, T.Whid, rob@robmyers.org, Jim Andrews,<br />Lee Wells, jeremy, netwurker@hotkey.net.au, Zev Robinson<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome is now offering Organizational Subscriptions, group memberships<br />that can be purchased at the institutional level. These subscriptions<br />allow participants at institutions to access Rhizome's services without<br />having to purchase individual memberships. For a discounted rate, students<br />or faculty at universities or visitors to art centers can have access to<br />Rhizome?s archives of art and text as well as guides and educational tools<br />to make navigation of this content easy. Rhizome is also offering<br />subsidized Organizational Subscriptions to qualifying institutions in poor<br />or excluded communities. Please visit <a rel="nofollow" href="http://rhizome.org/info/org.php">http://rhizome.org/info/org.php</a> for<br />more information or contact Lauren Cornell at LaurenCornell@Rhizome.org<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />1.<br /><br />From: Alison Sant &lt;ali@alisant.net&gt;<br />Date: Feb 20, 2006<br />Subject: Reminder: SoEx OFFSITE proposals due Feb. 28<br /><br />CALL FOR PROPOSALS: SoEx OFFSITE<br /><br />An opportunity for emerging artists to develop and create new public works<br />in San Francisco that investigate diverse strategies for exploring and<br />mapping public space.<br /><br />SOUTHERN EXPOSURE OFFSITE:<br /><br />Southern Exposure's 2006-2007 Exhibition and Artists in Education programs<br />will move beyond the gallery walls in order to present new forms of work<br />in public space. Southern Exposure will temporarily relocate in the summer<br />of 2006 so that the building that we have always called home at Project<br />Artaud can undergo a seismic retrofit and upgrade. Southern Exposure is<br />utilizing this unique opportunity to extend our programs into the public<br />realm. Southern Exposure, founded in 1974, has a long history of<br />presenting community-based projects. Through this new program, Southern<br />Exposure has a goal of encouraging artists to work experimentally in<br />public space, enabling artists to develop new works that could not<br />otherwise be realized, and generating a critical dialog about emerging<br />creative practices.<br /><br />ABOUT THE PROJECT:<br /><br />Southern Exposure will commission a series of public art projects that<br />investigate diverse strategies for exploring and mapping public space.<br />Artists selected through this open call will be commissioned to produce<br />new work.<br /><br />This project is informed by the legacy of the Situationists, an<br />international artistic and political movement that emerged in the 1950s<br />and 1960s. The Situationists sought to radically redefine the role of art<br />in society with a particular interest in everyday experiences in public<br />space. They developed key concepts such as the derive – the practice of<br />drifting through urban space - and psychogeography – the study of the<br />effects of the geographic environment on the emotions and behavior of<br />individuals. In addition, a goal of these projects is to reconsider the<br />Situationists' strategies in light of new technologies such as Global<br />Positioning devices and wireless communication, which have fundamentally<br />transformed our ability to navigate public space.<br /><br />This series will feature a range of projects that utilize strategies such<br />as simple acts of walking and note taking, to projects that employ<br />high-tech and technological apparatuses as a means to fuse virtual and<br />real experiences or to disseminate geographical and historical<br />information, to performances, actions, or events. These projects may<br />involve the audience's participation, enabling the public to engage in<br />acts of urban mapping and reflect on their own experiences in public<br />space.<br /><br />Southern Exposure seeks proposals for artwork in various media including<br />1) artwork with a physical presence such as: installation, sculpture, or<br />public intervention; 2) ephemeral and participatory artwork such as:<br />performance, tour, walk, discussion, or lecture; 3) technology-based work<br />such as new media or sound art; or 4) projects that combine the above<br />categories. Projects will be presented between September 2006 and Spring<br />2007. The duration of the projects can range from a single performance to<br />repeating events or a long-term installation. Selected artists will<br />receive an honorarium and production budget ranging from $500 - $5,000<br />depending on the scope of the project. Southern Exposure will work with<br />artists to provide support, promote their projects, and will create a<br />publication that documents the program series after the projects have been<br />presented. Southern Exposure will also provide a home base for artists to<br />work, with space for information about the projects to be accessible to<br />the public.<br /><br />APPLICATION &amp; REVIEW PROCESS:<br /><br />The proposals will be reviewed by several members of Southern Exposure's<br />Curatorial Committee. We are seeking proposals from artists who<br />demonstrate a potential for creative growth working in the public realm,<br />or artists who would like to extend their practice into the public realm<br />but have yet to work this way.<br /><br />Please mail or deliver your proposal package to Southern Exposure.<br />Southern Exposure does not accept electronic submissions.<br /><br />SoEx OFFSITE<br />Southern Exposure<br />401 Alabama Street<br />San Francisco, CA 94110<br /><br />Application Deadline: Materials must be received at Southern Exposure's<br />office by 5 p.m. on Tuesday, February 28, 2006 (this is not a postmark<br />date). Hand deliveries will be accepted.<br /><br />Notification Deadline: Artists will be notified by later no later than<br />March 31, 2006. Please do not call before this date.<br /><br />INQUIRIES:<br /><br />You can find all of this information and more at www.soex.org in the SoEx<br />OFFSITE section. If you have questions regarding the application process,<br />please contact us by email: programs@soex.org. Subject heading of the<br />email should read: &quot;SoEx OFFSITE.&quot;<br /><br />About Southern Exposure<br />Southern Exposure is a 31 year old, non-profit, artist-run organization<br />dedicated to presenting diverse, innovative, contemporary art, arts<br />education, and related programs and events in an accessible environment.<br />Southern Exposure reaches out to diverse audiences and serves as a forum<br />and resource center to provide extraordinary support to the Bay Area's<br />arts and educational communities. Activities range from exhibitions of<br />local, regional, and international visual artists' work, education<br />programs, and lectures, panel discussions, and performances. Southern<br />Exposure is dedicated to giving artists–whether they are exhibiting,<br />curating, teaching, or learning–an opportunity to realize ideas for<br />projects that may not otherwise find support.<br /><br />For more information go to www.soex.org or call 415-863-2141.<br /><br />This program is made possible through the generous support of the National<br />Endowment for the Arts and the Andy Warhol Foundation for the Visual Arts.<br />Submission Application: SOEX OFFSITE<br /><br />ELIGIBILITY:<br />Open to local, national and international artists, with a focus on<br />supporting San Francisco Bay Area artists.<br /><br />WHAT TO SUBMIT:<br />Please complete the following form and submit it with your application:<br /><br />NAME:<br />______________________________________________________________________________<br />ADDRESS:<br />__________________________________________________________________________<br />CITY/STATE/ZIP:<br />____________________________________________________________________<br />PHONE:<br />_____________________________________________________________________________<br />EMAIL/WEBSITE:<br />_____________________________________________________________________<br />1. Submit up to TWO forms of visual support material:<br /><br />up to twelve digital images – saved as JPEG files. (May not exceed 800 x<br />600 pixels 72 dpi). Each image file should be labeled or saved with your<br />name and a number that corresponded to an annotated image list (see<br />below). We are not accepting slides.<br /><br />one DVD with up to three works or three excerpts of works. We will view up<br />to five minutes of work.<br /><br />one VHS tape, cued. We will view up to five minutes of work.<br />2. Annotated image list of your support materials:<br /><br />indicate artist name, title, year, medium, brief description of each work<br />(digital image or video).<br />3. Artist statement, no more than one page in length.<br /><br />4. Current resume, including name, address, phone number and email address.<br /><br />5. Proposal. In 300 words or less, describe the project that you would<br />like to develop, include:<br /><br />the form your project will take (i.e. public sculpture, performance,<br />action, event, etc)<br /><br />the motivations for the work and concepts behind it<br /><br />suggest possible locations, types of locations, or a specific location you<br />intend to use. OPTIONAL: You may include a schematic or visual example of<br />your project.<br /><br />6. Preliminary budget in narrative form estimating material costs and<br />required production time.<br />7. A self-addressed stamped envelope (SASE) large enough to return<br />submitted materials and containing the correct amount of postage.<br /><br />MATERIALS WITHOUT A SASE WILL NOT BE RETURNED AND WILL BE DISCARDED AFTER<br />2 MONTHS IF THE ARTIST HAS NOT CONTACTED SOUTHERN EXPOSURE<br />***** Please include 3 copies of items #'s 2- 6. Do not submit binders,<br />folders or original artwork. *****<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />2.<br /><br />From: Kangok Lee &lt;program3@senef.net&gt;<br />Date: Feb 22, 2006<br />Subject: CALL FOR ENTRY : Seoul Net Festival 2006<br /><br />CALL FOR ENTRY : Seoul Net Festival 2006<br /><br />The 7th Seoul Net Festival is open for entries in Digital Express<br />(International Competition) in both categories respectively : &lt;Web-Work&gt;<br />and &lt;Cinema 4 Net&gt;. Seoul Net Festival, organized by Seoul Moving Image<br />Forum and presented by Seoul Film Festival Executive Committee, is trying<br />to introduce talented visual artists all over the world and their<br />brilliant works and to lead the new audio-visual experiences based on &quot;the<br />Internet&quot; and &quot;New Media&quot;. We sincerely hope you consider this an exciting<br />opportunity to show your great endeavors in the digital convergence era.<br /><br />WHEN : May 15 - September 24, 2006<br /><br />- May 15 - July 31 : screening of competition section and<br />out-of-competition section<br /><br />- August 1 - September 24 : screening of award-winning works<br /><br />WHERE : www.senef.net / Mobile and DMB<br /><br />SEOUL NET FESTIVAL SUBMISSION DEADLINE : April 8, 2006<br /><br />ELIGIBILITY<br />For the official competition section, only works completed after January<br />2005 may be submitted to the Festival. Submissions should be creative<br />works produced or adopted through digital technology. There will be no<br />restrictions regarding the genre, length or subject matter of the work and<br />all types of works, including fiction, documentary, experimental, music<br />video, animation, motion graphic, flash animation, game, web-art, etc.<br />will be accepted.<br /><br />MATERIALS REQUIRED FOR SUBMISSIONS :<br /><br />1) Completed application form (can be downloaded from www.senef.net)<br />2) Preview material<br />- By Post : DVD / DV6mm / CD / VHS (Seoul Moving Image Forum - Program<br />Dept. of Seoul Net Festival, 1308 Woorim Bobo County, 75-8 Samsung-Dong,<br />Kangnam-Gu, Seoul 135-870, Korea)<br /><br />- By FTP Server (under 300 MB) : FLASH / WMV / MOV / AVI / MPEG<br />* For File-Transferring indications, please mail to program3@senef.net<br /><br />- By E-MAIL : URL address to program3@senef.net<br />3) Complete script in English (.doc)<br />4) Photo of the Work (.jpg) : more than 300 dpi<br />5) Photo of the Artist (.jpg) : more than 300 dpi<br />6) Any other publicity materials related to the submitted work (optional)<br /><br />* Application form and photos can be submitted by E-MAIL.<br />* Resolution should be more than 640 * 480.<br /><br />Contact<br />Seoul Moving Image Forum - Program Dept. of Seoul Net Festival<br />1308 Woorim Bobo County, 75-8 Samsung-Dong, Kangnam-Gu, Seoul 135-870, Korea<br />program3@senef.net / Tel. : +82-2-518-4332 / Fax: +82-2-518-4333<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Support Rhizome: buy a hosting plan from BroadSpire<br /><br /><a rel="nofollow" href="http://rhizome.org/hosting/">http://rhizome.org/hosting/</a><br /><br />Reliable, robust hosting plans from $65 per year.<br /><br />Purchasing hosting from BroadSpire contributes directly to Rhizome's<br />fiscal well-being, so think about about the new Bundle pack, or any other<br />plan, today!<br /><br />About BroadSpire<br /><br />BroadSpire is a mid-size commercial web hosting provider. After conducting<br />a thorough review of the web hosting industry, we selected BroadSpire as<br />our partner because they offer the right combination of affordable plans<br />(prices start at $14.95 per month), dependable customer support, and a<br />full range of services. We have been working with BroadSpire since June<br />2002, and have been very impressed with the quality of their service.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />3.<br /><br />From: Lauren Cornell &lt;laurencornell@rhizome.org&gt;<br />Date: Feb 24, 2006<br />Subject: Smith seeks artist-in-residence<br /><br />Smith College is seeking an artist-in-residence for each of the next three<br />academic years. We seek a practicing artist whose work bridges the arts<br />and technology in innovative ways and who has the ability to share her/his<br />talents as a teacher and practitioner. The artist will bring a<br />collaborative, interdisciplinary approach to scholarship, teaching,<br />exploration and creation. We encourage applications from performing or<br />installation artists in theatre, dance, and/or music; and visual artists,<br />including those working in film, video, and sound. We especially encourage<br />artists who practice in interdisciplinary combinations of the arts and<br />technology and who can help current faculty develop a vision for this<br />emerging field at Smith College.<br /><br />Qualifications:<br />* A terminal degree in the arts and/or technology.<br /><br />Responsibilities:<br />* Develop, coordinate and facilitate activities to promote the<br />intersection between arts and technology.<br />* Identify, invite and host for campus visits other guest artists<br />exploring new directions in the arts and technology.<br />* Teach half-time (2 courses over the course of the year.)<br />* Present personal work to local community.<br /><br />Application Deadline:<br />* March 15, 2006 (include note on end of search)<br /><br />Please do not send portfolios at this time.<br /><br />Smith College is a four-year liberal arts college in Northampton,<br />Massachusetts. Smith College seeks to attract individuals who are<br />committed to our mission of providing the highest quality education<br />to women. Smith participates in a five-college consortium with Amherst,<br />Hampshire, and Mount Holyoke Colleges, and the University of<br />Massachusetts, Amherst.<br /><br />Please send a letter of application, a resume, and three letters of<br />recommendation to:<br /><br />Professor Gary Niswonger<br />Chair, Search Committee<br />Art Department<br />Smith College<br />22 Elm Street<br />Northampton, MA 01063<br /><br />Smith College is an equal opportunity employer encouraging excellence<br />through diversity.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />4.<br /><br />From: Marjan van Mourik &lt;webmaster@targetfound.nl&gt;<br />Date: Feb 18, 2006<br />Subject: VIPER NTERNATIONAL FESTIVAL FOR FILM VIDEO AND NEW MEDIA<br /><br />VIPER is forum for innovation and creativity - as one the leading<br />internationally renowned festivals dedicated to supporting and mediating<br />qualitatively outstanding and innovative works and projects VIPER presents<br />for five days recent productions from all over the world: interactive<br />fillms and installations, video essays, net art projects, VJ-events and<br />performances.<br /><br />25TH VIPER | GRAND OPENING<br />Thursday, 16 March 2006 | Kunsthalle Basel | 8:00 P.M.<br /><br />Traditionally the major focus is on the moving image. Thereby VIPER's<br />unique profile includes works, which are positioned in the field of fine<br />arts as well as film works. On the occasion of the festival the parallel<br />leads of both genres indicates the numerous references and makes evident<br />that cinema's visual heritage and mass media's impulses of TV, video and<br />Internet that have permanently grown in public awareness are creating an<br />explosive reservoir of visual innovation. From one of the most vivid<br />fields of activity in contemporary art, the authors present highly<br />sovereign positions: With an observant view on society's phenomena,<br />between documentary and imaginative staging, they develop authentic<br />image-worlds and narratives. VIPER mediates the most exciting positions<br />and celebrates its 25th anniversary with the presentation of more than 200<br />works and projects from over 26 countries.<br /><br />VIPER presents with the 25TH VIPER | SCREENINGS a counter position to the<br />filmic productions a la Hollywood. In their playful use of filmic codes<br />and new narrations the authors lay a manifold foundation for tomorrow's<br />cinema: Betulius and Merz, Marika Chernikova, Erika Fraenkel, Harald<br />Holba, Oliver Hockenhull, Pascal Marquilly, Els Opsomer, Rack and Muskens,<br />Hito Steyerl, Peter Tscherkassky, Laura Waddington, Susanne Winterling,<br />Marcia Vaitsman et.al.<br />Programmes: Passage Cinema, New Narratives, Challenging Tradition,<br />Con/Frontal Views<br /><br />The 25TH VIPER | EXHIBITION with its accompanying authors' symposia<br />present amongst others the following Swiss and international positions:<br />BIT (Bureau of Inverse Technology), Elli Ga, Alexander Hahn, Adad Hannah,<br />Sven Konig, Ine Lamers, Cecilia Lundquist, Galina Myznikova/Sergey<br />Provorov, Astrid Nippoldt, Nicolas Party, Andrea Polli, Annelies Strba,<br />van der Haak/ Rem Koolhaas /Silke Wawro. On the occasion of its 25th<br />anniversary VIPER puts with SWISS MEDIA ART | NO PEAK NO VIEW an<br />additional special focus on Switzerland: today internationally renowned<br />authors will be personally present in Basel and show and discuss their<br />work with the audience: Emmanuelle Antille, Hubbard and Birchler, Zilla<br />Leutenegger, Yves Netzhammer, Marco Poloni, Studer van den Berg et.al.<br /><br />The 25TH VIPER | FORUM NEXT GENERATION is a pulsating platform for young<br />practitioners and media pioneers - here the advanced scene around wireless<br />art, design&amp;interaction, social software and gaming culture will present<br />itself and are theory and practise standing under the sign of exploring<br />new knowledge and activity zones.<br /><br />The VIPER | JAPANESE CONNECTION launches a display for its Japanese<br />partners - in their inimitable attitude towards adapting and transforming<br />foreign influences with elements of tradition, an entirely own culture of<br />independent artistic filming has been established.<br />Presented will be works by: Yusuke Sasaki, Kei Oyama, Isamu Hirabayashi,<br />Mika Seike and others<br /><br /><a rel="nofollow" href="http://www.viper.ch/viper/content/main.php">http://www.viper.ch/viper/content/main.php</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome ArtBase Exhibitions<br /><br /><a rel="nofollow" href="http://rhizome.org/art/exhibition/">http://rhizome.org/art/exhibition/</a><br /><br />Visit &quot;Net Art's Cyborg[feminist]s, Punks, and Manifestos&quot;, an exhibition<br />on the politics of internet appearances, guest-curated by Marina Grzinic<br />from the Rhizome ArtBase.<br /><br /><a rel="nofollow" href="http://www.rhizome.org/art/exhibition/cyborg/">http://www.rhizome.org/art/exhibition/cyborg/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />5.<br /><br />From: zanni.org &lt;cz@zanni.org&gt;<br />Date: Feb 19, 2006<br />Subject: MAXXI Museum, Rome - Art and Virtual Identities<br /><br />MAXXI Museum, Rome<br /><br /><a rel="nofollow" href="http://www.maxximuseo.org">http://www.maxximuseo.org</a><br />The fourth installment of NetWebArt / Net Archives: Art and Virtual<br />Identities<br />curated by Eleonora De Filippis and Elena Giulia Rossi<br />opens on the 23rd of February.<br /><br />Invited artists are:<br /><br />-1.Juliet Davis, Pieces of Herself, 2004<br /><a rel="nofollow" href="http://www.julietdavis.com/studio/piecesofherself/">http://www.julietdavis.com/studio/piecesofherself/</a><br /><br />-2. Reinhald Drouhin, Des Fleur, 2003<br /><a rel="nofollow" href="http://www.incident.net/works/desfleurs/desfleurs.html">http://www.incident.net/works/desfleurs/desfleurs.html</a><br /><br />-3. Cristopher Joseph, Inanimate Alice, 2005<br /><a rel="nofollow" href="http://www.inanimatealice.com">http://www.inanimatealice.com</a><br /><br />-4.Glenn Ligon, Annotations, , a project commissioned by Dia Art<br />Foundation for its series of artists' web projects ,2003<br /><a rel="nofollow" href="http://www.diacenter.org/ligon/">http://www.diacenter.org/ligon/</a><br /><br />-5. C.J.Yeh, My Data My Mondrian, 2004<br /><a rel="nofollow" href="http://www.cjny.com/mydata/">http://www.cjny.com/mydata/</a><br /><br />-6. Carlo Zanni, 4 Untitled Portraits, Net Art Commission of<br />Kunstznetnrw.de, 2003-2004<br /><a rel="nofollow" href="http://www.zanni.org/4untitled/">http://www.zanni.org/4untitled/</a><br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />Rhizome.org 2005-2006 Net Art Commissions<br /><br />The Rhizome Commissioning Program makes financial support available to<br />artists for the creation of innovative new media art work via<br />panel-awarded commissions.<br /><br />For the 2005-2006 Rhizome Commissions, eleven artists/groups were selected<br />to create original works of net art.<br /><br /><a rel="nofollow" href="http://rhizome.org/commissions/">http://rhizome.org/commissions/</a><br /><br />The Rhizome Commissions Program is made possible by support from the<br />Jerome Foundation in celebration of the Jerome Hill Centennial, the<br />Greenwall Foundation, the Andy Warhol Foundation for the Visual Arts, and<br />the New York City Department of Cultural Affairs. Additional support has<br />been provided by members of the Rhizome community.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />6.<br /><br />From: lmartin@sfai.edu &lt;lmartin@sfai.edu&gt;<br />Date: Feb 21, 2006<br />Subject: New Museum Curator Laura Hoptman Gives Public Lecture at SFAI<br /><br />New Museum Curator Laura Hoptman Gives Public Lecture at SFAI<br /><br />Location: Lecture Hall, SFAI, 800 Chestnut St., San Francisco<br />Date: March 1, 2006<br />Time: 7:30pm<br />Website: www.sfai.edu<br />Cost: free and open to the public<br />Public contact: 415.771.7020<br />Press contact: Lucy Martin, lmartin@sfai.edu, 415.749.4507<br /><br />Description:<br /><br />As curator of two highly regarded exhibitions–the 2004 Carnegie<br />International exhibition in Pittsburgh and Drawing Now: Eight Propositions<br />at the Museum of Modern Art, Queens–Laura Hoptman has visibly expressed<br />her interest in artwork that explores big questions: those of life, death,<br />and the meaning of the universe. &quot;At this moment in the United States,&quot;<br />she wrote in her introduction to the Carnegie exhibition, &quot;our undeniable<br />taste for the banal does not quash our need for art that is not merely<br />extracted from aspects of the everyday, but rather wholeheartedly<br />participates in it by wrestling with its fundamental mysteries.&quot; Hoptman<br />will discuss related themes in her SFAI presentation.<br /><br />Hoptman is currently Curator at the New Museum of Contemporary Art in New<br />York. Previous to this position, Hoptman was Curator of Contemporary Art<br />at the Carnegie Museum of Art. She has also served as Assistant Curator in<br />the Department of Drawings at the Museum of Modern Art, New York, from<br />1995 to 2001; as Guest Curator at the Museum of Contemporary Art, Chicago,<br />from 1993 to 1995; and Curator at The Bronx Museum of the Arts, New York,<br />from 1987 to 1990. Hoptman has organized numerous exhibitions on<br />contemporary art, including the re-installation of the Carnegie Museum of<br />Art's permanent collection in 2003; Hello, My Name Is…, which was<br />co-organized with Elizabeth Thomas also at the Carnegie Museum of Art; and<br />Drawing Now: Eight Propositions, at the Museum of Modern Art, Queens. At<br />MOMA, Hoptman co-curated Love Forever: Yayoi Kusama, 1958-1968 and curated<br />Project #60: John Currin, Elizabeth Peyton, Luc Tuymans. Both of these<br />exhibitions were cited as belonging to the ten!<br /> best exhibitions of 1997 by Artforum. Among Hoptman's recent publications<br />are Drawing Now: Eight Propositions (Museum of Modern Art, 2002) and<br />Yayoi Kusama (Phaidon Press, 2000). She was also the co-editor of Primary<br />Documents: A Sourcebook for East and Central European Art since the<br />1950s, jointly published in 2003 by the Museum of Modern Art and MIT<br />Press. Her articles have appeared in Parkett, Flash Art, Harper's Bazaar,<br />and other journals.<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />7.<br /><br />From: Marjan van Mourik &lt;webmaster@targetfound.nl&gt;<br />Date: Feb 22, 2006<br />Subject: Sonic Acts XI - The Anthology of Computer Art<br /><br />Sonic Acts XI - The Anthology of Computer Art<br /><br />23 - 26 februari 2006 - Paradiso / De Balie, Amsterdam<br /><br />The eleventh edition of the Sonic Acts Festival will be held from Thursday<br />23rd to Sunday 26th February 2006 in Paradiso and De Balie in Amsterdam.<br />Entitled Sonic Acts XI - The Anthology of Computer Art, the festival will<br />include a three-day international conference, three evenings and nights of<br />live performances, an extensive film programme and an exhibition. A DVD<br />and a book on the festival theme will also be published to coincide with<br />it.<br /><br />The three-day conference will provide a multifaceted and penetrating<br />overview of computer art. International speakers from computer arts, film,<br />the fine arts, music, the academic world, literature and art history will,<br />from the perspective of their own background, discuss the historical<br />developments, present the current position of computer art, and consider<br />its future. Jasia Reichardt (UK) opens the festival at February 23 2006<br />with a Keynote lecture.<br /><br />Reichardt is writer and curator and made history in 1968 with the exhibit<br />Cybernetic Serendipity. Speakers at the conference include Lillian<br />Schwartz (US), pioneer in the field of computer-generated art and computer<br />films; Curtis Roads (US), composer and author of the influential Computer<br />Music Tutorial; Stephen Wilson (US), professor of conceptual design at the<br />SFSU and author of the authoritative Information Arts, Intersections of<br />Art, Science, and Technology; Joost Rekveld (NL), artist, produces<br />abstract films and kinetic installations since 1991; Ben Fry (USA),<br />artist, who's current research involves the visualization of genetic data.<br />With Casey Reas he is developing the open source programming environment<br />Processing; Manfred Mohr (US), computer artist since 1968 and considered<br />as one of the pioneers; Frieder Nake (DE), professor interactive<br />computer-graphics in Bremen and one of the three artists in the first<br />computer art exhibitions (1965, Stuttgart). A key-person in the field of<br />computer art and information aesthetics since then; Andreas Broeckmann<br />(DE), artistic director of the international media art festival<br />Transmediale in Berlin. In texts and lectures he deals with post-medial<br />practices and the possibilities for a 'machinic' aesthetics of media art;<br />Matthias Weiss (DE), studied art history and philosophy and is considered<br />an authority in the field of net-art; John Oswald (CA), composer and<br />sound-artist. Became famous in 1990 with his Plunderphonics; Rob Young<br />(UK), editor for the music magazine The Wire; Golan Levin (US), artist,<br />composer, performer and engineer, develops new forms of interaction with<br />audiovisual systems; Joan Leandre (ES), also known as Retroyou, artist<br />working with modified games; Wolf Lieser (DE), curator and founder of the<br />Digital Art Museum; Erik van Blokland (NL), designer and co-founder of<br />Letterror. Arjen Mulder (NL), Casey Reas (US) and Rutger Wolfson (NL) will<br />moderate during the conference. The festival will start with performances<br />by Granular Synthesis (AT) and Curtis Roads &amp; Brian O'Reilly (US).<br />Granular Synthesis, renowned for its monumental and impressive<br />audio-visual performances and installations, will perform Areal. Curtis<br />Roads &amp; Brian O'Reilly will perform their international acclaimed<br />octaphonic audiovisual piece Point Line Cloud.<br /><br />The Friday programme is being compiled in collaboration with Jace Clayton<br />(a.k.a. DJ/rupture), founder of Negrophonic and Soot Records, and will<br />include: The Bug feat. Ras B (Rephlex, UK), Beans (Warp, US), Ghislain<br />Poirier (Chocolate Industries, CA), Vex'd (Rephlex, UK) , DJ /rupture &amp; No<br />Lay &amp; G-Kid (Unorthodox, UK), Team Shadetek presents: Heavy Meckle feat.<br />Matt Shadetek, Sheen, Jammer, Chronik &amp;<br />Ears (Warp / Jah Mek the the World, UK/US), Hrvatski (Planet Mu, US),<br />Aaron Spectre (Death$ucker, US), Ove-Naxx (Adaadat, JP), Scotch Egg (Wrong<br />Music, JP), Doddodo (Adaadat, JP), Drop the Lime (Tigerbeat6, US),<br />Filastine (Soot, US), Nettle (theAgriculture, ES), 2/5 BZ (G?zel, TU),<br />Gustav (Mosz, AT), Planning to Rock (Twisted Nerve, DE), Toktek &amp; MNK<br />(NL).<br /><br />On Saturday Performances by: Matthew Dear (Spectral Sound, US), Reinhard<br />Voigt (Kompakt, DE), Ada (Areal records, DE), TBA (Max Ernst, DE), AGF &amp;<br />SUE.C (Orthlorng Musork, DE/US), Portable (Scape, ZA), Fe-mail (NO),<br />NotTheSameColor (AT), SKIF &amp; Bas van Koolwijk (US/ NL), Moha! (NO),<br />OfficeR(6) (NL/US/NO), Jason Forrest (Cock Rock Disco, US),<br />TinyLittleElements (AT/DE), Anne Laplantine (FR), Boris &amp;<br />Brecht Debackere (BE), Nancy Fortune (Viewlexx, FR).<br /><br />The film programme will look at purely digital film art with a number of<br />historical overviews, documentaries and contemporary computer films. Work<br />will also be shown from the archive of the Institut National Audiovisuel,<br />Groupe de Recherches des Images. In two programme series work will be<br />shown from filmmakers such as: Raymond Hains, Jacques Brissot, Nicolas<br />Sch?ffer, Caroline Laure, Marie Claire Petris, Peter Foldes, Robert<br />Lapoujade and Piotr Kamler. Much of this material has never been seen<br />before in the Netherlands: it offers a wealth of historical material<br />related to abstract film and musique concr?te. There are two filmmaker in<br />focus programmes: Lillian Schwartz and John Whitney; there is one<br />programme with very early computer films by filmmakers like Michael A.<br />Noll, Chuck Csuri and Stan Vanderbeek; there is a programme with early<br />'computer aided design' works and there is a programme with works from<br />SIGGRAPH.<br /><br />The exhibition will include a number of key-works from the pioneers of<br />computer-art, including works by Ben Laposky, Manfred Mohr, Edward Zajec,<br />Frieder Nake, Tony Longson and Vera Molnar. Also works will be shown from<br />the Sonic Acts 2006 DVD, by artists such as: Bart Vegter, Semiconductor,<br />Effekt, Telcosystems &amp; Jason Haas, Martijn van Boven, C.E.B. Reas, Meta,<br />Driessens &amp; Verstappen, Karl Kliem, Chris Musgrave, Peter Luining, reMI,<br />Scott Pagano &amp; Keepadding, Kurt Ralske, George Issakidis and Daniel Perlin<br />&amp; Dj /rupture.<br /><br />Sonic Acts XI<br />Thursday February 23 - Sunday February 26 2006<br />Paradiso, Weteringschans 6 - 8, Amsterdam, +31206264521<br />De Balie, Kleine-Gartmanplantsoen 10, Amsterdam, +31205535100<br /><br />Conference passepartout: ? 45,00 (Thursday February 23, doors 20:00, start<br />20:30, location: Paradiso; Friday February 24, Saturday February 25 &amp;<br />Sunday February 26, doors 12:30, start 13:00, location:<br />De Balie) - The passepartout is also valid for the performance programme &amp;<br />the Keynote lecture on Thursday February 23.<br /><br />Live Performances: ? 12,50 incl. (Thursday February 23, doors: 20:00,<br />start 20:30, Friday February 24 &amp; Saturday February 25 doors: 20:00, start<br />21:00, location: Paradiso)<br /><br />Films: ? 6,25 (Thursday February 23, 19:30 &amp; 21:00, Friday February 24,<br />19:30 &amp; 21:00, Saturday 25, 16:00, 19:30 &amp; 21:00)<br /><br />Conference tickets are available from January 7 2006 via De Balie<br />(+31205535100 between 14.00 and 17.30 during weekdays), AUB and online<br />via: <br /><a rel="nofollow" href="http://www.amsterdamsuitburo.nl/dsp_productie.cfm?prodid=90F7423E-AAC1-924F-FF8B049630F4DE16">http://www.amsterdamsuitburo.nl/dsp_productie.cfm?prodid=90F7423E-AAC1-924F-FF8B049630F4DE16</a><br /><br />Live Performance tickets are available from January 7 2006 via AUB and<br />online via:<br /><a rel="nofollow" href="http://www.ticketmaster.nl/html/searchResult.htmI?keyword=sonic+acts&l=EN&x=0&y=0">http://www.ticketmaster.nl/html/searchResult.htmI?keyword=sonic+acts&l=EN&x=0&y=0</a><br /><br />Film tickets are available from January 14 2006 via De Balie (+31205535100<br />between 14.00 and 17.30 during weekdays)<br />For more information: www.sonicacts.com<br /><br />+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +<br /><br />8.<br /><br />From: Jason Van Anden &lt;jason@smileproject.com&gt;, Pall Thayer<br />&lt;p_thay@alcor.concordia.ca&gt;, T.Whid &lt;twhid@twhid.com&gt;, &lt;rob@robmyers.org&gt;,<br />Jim Andrews &lt;jim@vispo.com&gt;, Lee Wells &lt;lee@leewells.org&gt;, jeremy<br />&lt;studio@silencematters.com&gt;, &lt;netwurker@hotkey.net.au&gt;, Zev Robinson<br />&lt;zr@zrdesign.co.uk&gt;<br />Date: Feb 22-24, 2006<br />Subject: Naked Code<br /><br />+Jason Van Anden posted:+<br /><br />Does anyone else get a bit creeped out by being required to expose their<br />code in order to receive financial support?<br /><br />I recently decided against applying for a few new media grants because of<br />they required that the code/technology be open sourced. Please don't<br />assume that I am suggesting that open source is a bad thing. Its the<br />requirement that I find a strange and upsetting trend.<br />+Pall Thayer replied:+<br /><br />I see it as very positive. They ensure that the fruits of their funding<br />will potentially benefit many artists (and others) rather than just the<br />grant recipient.<br /><br />Can you tell us what grant it is?<br />+T.Whid replied:+<br /><br />Great subject.<br /><br />I'm curious what grants made this a requirement… I think Eyebeam does<br />for their residencies, are there others?<br /><br />I think it's a great thing. I've never been a funder of art, but I would<br />guess that folks that run organizations that fund art see their mission as<br />a sort of way to make a gift to the culture at large. They fund artists,<br />dancers, writers and etc so that works get made and enter the culture. If<br />one is funding new media, one way to have this gift make even more of an<br />impact is to require that any software developed for the project becomes<br />open source.<br /><br />There is a downside however. New media artists are a crafty lot. Sometimes<br />their work has multiple purposes; software developed under a grant from a<br />cultural institution could be a seed to build a business venture or vice<br />versa. Perhaps this business venture would require that the code be<br />closed, if that is the case then you could exclude some very talented<br />programmers and artists from the grant procedure.<br /><br />It's good that some new media funders are requiring it, but it shouldn't<br />be everyone. Creative Capital doesn't require it and I don't think the<br />Rockefeller new media grant requires it either.<br />+Jason Van Anden replied:+<br /><br />Hi Pall,<br /><br />I thought you would see it that way ~ here are a few questions:<br /><br />How do you see this benefiting other artists? Examples?<br /><br />Does this mean that you think that all funded work should require its code<br />be open?<br /><br />I would prefer not to discuss which grant - but there have been more than<br />one - all have been listed here on Rhizome over the last year.<br />+rob@robmyers.org replied:+<br /><br />&gt; Does anyone else get a bit creeped out by being required to expose their<br />&gt; code in order to receive financial support?<br /><br />No, I think it's a very good thing. Now we just need to get traditional media<br />grants to require that preparatory work for applications be copylefted and<br />we're almost there. ;-)<br />+Jim Andrews replied:+<br /><br />Hi Jason,<br /><br />There are various reasons why one might not want to make ALL of a project<br />open source. One might want to use code that's proprietary. Or one might<br />feel that some of the code is neither of any use to anyone and/or it's<br />spagetti or not readable or whatever.<br /><br />But to make some part of a project open source, perhaps even a relatively<br />small part, seems like it could be interesting and hopefully useful also.<br /><br />I'm not interested in perusing a 300 page code project that's unreadable<br />(or even one that *is* readable), but reading something short, sweet, and<br />useful, I'd like that. Something I wouldn't mind stealing. Something with<br />interesting code ideas.<br /><br />An insistence that the whole thing be open source, erm, that'd be kind of<br />constrictive.<br />+Pall Thayer replied:+<br /><br />&gt; I thought you would see it that way ~ here are a few questions:<br />&gt;<br />It's my 'thang' :-)<br />&gt;<br />&gt; How do you see this benefiting other artists? Examples?<br />I think that anything that reveals the processes and methods employed by<br />artists can potentially benefit other artists. You don't have to keep<br />re-inventing the wheel.<br />&gt;<br />&gt; Does this mean that you think that all funded work should require<br />&gt; its code be open?<br />We should never say that &quot;everything should be this way&quot;. Diversity is<br />always a good thing. But I definitely don't see this as a negative<br />requirement. Of course, ideally, funding wouldn't come with any strings<br />attached.<br />+Jason Van Anden replied:+<br /><br />So in a perfect world, funders would require painters to document how they<br />applied the strokes and mixed the paint, so that others can create<br />derivative works from this?<br /><br />+Jason Van Anden added:+<br /><br />Here are some cost/benefit analysis thoughts on the subject:<br /><br />1.) Overhead: aka documenting the code. As Jim Andrews points out, open<br />source is only useful to others if the code is legible and well documented<br />- which requires extra effort on its creator's behalf. This is work. <br />Perhaps its selfish - but golly, what a drag.<br /><br />2.) What is the benefit to the artist? Is it a good thing to enable<br />others to easily create derivative works based upon your labors? Am I<br />being funded to be a teacher or an artist?<br /><br />3.) My code is my code. I love my code - I mean love it. I like to<br />tinker with it, play with it, do whatever I please with it. What if I<br />don't want to share it? Its mine. As far as I am concerned - I share the<br />output - the process belongs to me. (For the record, I have made some of<br />my code publicly available - not that anyone was really that interested).<br /><br />These are mostly personal - but so is making art. Why is new media<br />different? I am not sure that because we create using a readable language<br />it should be a requirement that we share it.<br /><br />Is the art not enough?<br />+rob@robmyers.org replied:+<br /><br />&gt; Here are some cost/benefit analysis thoughts on the subject:<br />&gt;<br />&gt; 1.) Overhead: aka documenting the code. As Jim Andrews points out, open<br />&gt; source is only useful to others if the code is legible and well<br />documented -<br />&gt; which requires extra effort on its creator's behalf. This is work. <br />Perhaps<br />&gt; its selfish - but golly, what a drag.<br /><br />If your code is unreadable to others it will be unreadable to you soon,<br />and this will be more work for you if you ever want to show the work again<br />for another grant.<br /><br />&gt; 2.) What is the benefit to the artist? Is it a good thing to enable others<br />&gt; to easily create derivative works based upon your labors? Am I being<br />funded<br />&gt; to be a teacher or an artist?<br /><br />You are being paid to contribute to the cultural wealth of the community.<br /><br />&gt; 3.) My code is my code. I love my code - I mean love it. I like to tinker<br />&gt; with it, play with it, do whatever I please with it. What if I don't want<br />&gt; to share it?<br /><br />Don't apply for public funding then.<br /><br />&gt; Its mine.<br /><br />Hardly. If scientists or painters took this view we'd be stuck with<br />medicinal leeches and cave art.<br /><br />&gt; As far as I am concerned - I share the output - the<br />&gt; process belongs to me. (For the record, I have made some of my code<br />publicly<br />&gt; available - not that anyone was really that interested).<br />&gt;<br />&gt; These are mostly personal - but so is making art. Why is new media<br />&gt; different? I am not sure that because we create using a readable language<br />&gt; it should be a requirement that we share it.<br />&gt;<br />&gt; Is the art not enough?<br /><br />Only part of the art is not enough, and paying for a romantic creative<br />genius to deign to share a few leftovers from the feast we provide is not<br />a good use of funding.<br /><br />+rob@robmyers.org added:+<br /><br />&gt; So in a perfect world, funders would require painters to document how they<br />&gt; applied the strokes and mixed the paint, so that others can create<br />&gt; derivative works from this?<br /><br />You've heard of preparatory work. The details of a work's preparation are<br />vital for scholarship, renovation, and yes derivation. Cartoons,<br />sketchbooks, rough work, notebooks (some artists do keep them) are all<br />useful.<br /><br />This isn't alchemy.<br />+Jason Van Anden replied:+<br /><br />Hi Rob,<br /><br />The tone of your email sounds like you are a little disturbed with my tone<br />- hopefully this will clear things up:<br /><br />jva&gt; 1.) Overhead: aka documenting the code. As Jim Andrews points out,<br />open<br />jva&gt; source is only useful to others if the code is legible and well<br />documented -<br />jva&gt; which requires extra effort on its creator's behalf. This is work. <br />Perhaps<br />jva&gt; its selfish - but golly, what a drag.<br /><br />rm&gt; If your code is unreadable to others it will be unreadable to you<br />soon, and this<br />rm&gt; will be more work for you if you ever want to show the work again for<br />another grant.<br /><br />I don't agree with you that if my code is unreadable to the public that it<br />will eventually be unreadable to me. I have the benefit of accumulated<br />experience and an intimate understanding of my own process.<br /><br />jva&gt; 2.) What is the benefit to the artist? Is it a good thing to enable<br />others<br />jva&gt; to easily create derivative works based upon your labors? Am I being<br />funded<br />jva&gt; to be a teacher or an artist?<br /><br />rm&gt; You are being paid to contribute to the cultural wealth of the community.<br /><br />Am I not already doing this by creating the work of art?<br /><br />jva&gt; 3.) My code is my code. I love my code - I mean love it. I like to<br />tinker<br />jva&gt; with it, play with it, do whatever I please with it. What if I don't<br />want to share it?<br /><br />rm&gt; Don't apply for public funding then.<br /><br />I didn't - which was partly my reason for bringing up this topic.<br /><br />jva&gt; Its mine.<br /><br />rm&gt; Hardly. If scientists or painters took this view we'd be stuck with<br />medicinal<br />rm&gt; leeches and cave art.<br /><br />No question I have personally benefited from looking at the sketchbooks of<br />Picasso, Leonardo and Van Gogh, or watching film of Pollack painting, or<br />listening to numerous interviews with artists. None of these artifacts of<br />process require the amount of effort that deliberately documenting source<br />code for public consumption requires. It is not as if I do not contribute<br />- I regularly exhibit art work publicly that I rarely get financially<br />compensated for, I have published articles I do not get paid to write, and<br />I invest time in public discussions such as this to encourage thought<br />about an art form I am devoted to.<br /><br />jva&gt; As far as I am concerned - I share the output - the<br />jva&gt; process belongs to me. (For the record, I have made some of my code<br />publicly<br />jva&gt; available - not that anyone was really that interested).<br />jva&gt;<br />jva&gt; These are mostly personal - but so is making art. Why is new media<br />jva&gt; different? I am not sure that because we create using a readable<br />language<br />jva&gt; it should be a requirement that we share it.<br />jva&gt;<br />jva&gt; Is the art not enough?<br /><br />rm&gt; Only part of the art is not enough, and paying for a romantic creative<br />rm&gt; genius to deign to share a few leftovers from the feast we provide is<br />not a good use of<br />rm&gt; funding.<br /><br />I think my response to leeches and cave art above covers this.<br />+Pall Thayer replied:+<br /><br />&gt; Is the art not enough?<br /><br />That's my point. The art isn't enough. If I find the work truly<br />compelling. I want to see how it's done. What's involved. I don't want to<br />be mystified. Of course, often I can more or less see what processes and<br />methods are involved, but not always and in those cases, secrecy is a big<br />turn-off. To me, it's just like when I see an interesting painting. What I<br />do after admiring it a bit, is go closer to see how it's painted. I'm sure<br />there are people who enjoy being mystified. Imagining that the artist is a<br />magician capable of performing unexplainable acts. But as a fellow artist,<br />I want to know what's going on. If I were a painter, I would go visit<br />other painter's studios, grabbing glimpses of their work and methods along<br />the way. It's not that easy in our online community of netartists. So I<br />propose sharing source code as an alternative. I personally fail to<br />see the benefits of NOT sharing code.<br />+Lee Wells replied:+<br /><br />Sometimes they make you give them some of the art.<br />+T.Whid replied:+<br /><br />I think that drawing analogies btw sketchbooks or whatever and source code<br />is deeply flawed.<br /><br />I can't think of any analogies that would work btw traditional art<br />making… except perhaps, a mold for a sculpture? original template for a<br />print?<br /><br />That may work but most artists working in those mediums wouldn't dream of<br />allowing those things to be let loose in the wild since forgeries would be<br />produced.<br /><br />Forgeries don't seem to be what Jason is weary of.<br />+jeremy replied:+<br /><br />I think that once you liberate the code, you put yourself in a place where<br />you are forced to become more creative and move beyond the original idea.<br />There are 2 ways to think about this: you can hold on to your idea, and it<br />will only grow out of your own experiences with it. Or you can let it go,<br />and be inspired by how other are using your creation.<br /><br />At the root, it comes down to respecting the idea. If it is not ready to<br />be shared, then it should not be shared. Once it is ready, I think you<br />have to let it go, and enjoy it's effects on the world around you. This is<br />true for any medium. It is about having respect for your idea. I agree, it<br />is a very hard switch to make, especially with code, because it feels like<br />people can copy what you have done much more easily than a painting. You<br />can always get a Creative Commons License on it that specifies that the<br />person interested in using part of, or all of your<br />code, contact you first - but that it is open to use.<br /><br />The greatest thing about technology is that it fosters collaboration of<br />ideas…. and to think that collaboration is not part of your process,<br />then you had better not look at the source code of a nice site/piece ever<br />again, or for that matter, stop thinking about process altogether. Code is<br />about copying &amp; pasting - it is remixing what the person before you has<br />done with what you have done. This is also true across all mediums.<br /><br />How well have you taken the ideas of the past, remixed them, and made them<br />new again?<br /><br />I think it is also important to look at why your piece is successful. Does<br />your piece rely on you knowing something about programming to fully enjoy<br />the piece? If your piece relies on the fact that you made some genius<br />little script to 'wow' the viewer, then that leads me to think that your<br />code could be considered part of the art.<br /><br />these are just a few ideas…<br />+netwurker@hotkey.net.au replied:+<br />&gt; Here are some cost/benefit analysis thoughts on the subject:<br />&gt;<br />&gt; 1.) Overhead: aka documenting the code. As Jim Andrews points out, open<br />&gt; source is only useful to others if the code is legible and well<br />documented -<br />&gt; which requires extra effort on its creator's behalf. This is work. <br />Perhaps<br />&gt; its selfish - but golly, what a drag.<br /><br />n.credibly disappointing.orientation.<br /><br />[u.r.discoun.ting(le): slip.pages+uberness.of.the _accident[all.code]]<br /><br />&gt; 2.) What is the benefit to the artist? Is it a good thing to enable others<br />&gt; to easily create derivative works based upon your labors? Am I being<br />funded<br />&gt; to be a teacher or an artist?<br /><br />ur.share.share.ethic:OFF.<br /><br />[such.high.individualisationism.is.unattractive+des.truc(k.in.acollaborative.china.shoppe)tive]<br />[artistic.n.deavours.may.be.n.structive//share_trajectoried]<br />[cultural.stances.rn't.formed.thru.the.cult.of.the.&quot;i&quot;]<br /><br />&gt; 3.) My code is my code. I love my code - I mean love it. I like to tinker<br />&gt; with it, play with it, do whatever I please with it. What if I don't want<br />&gt; to share it? Its mine. As far as I am concerned - I share the output -<br />the<br />&gt; process belongs to me. (For the record, I have made some of my code<br />publicly<br />&gt; available - not that anyone was really that interested).<br /><br />&quot;I&quot; &quot;I&quot; &quot;I&quot;<br /><br />_such.ego.manifestering.reduces.collaborative.input+any.adjusting.2.non-capitalistick-tocking_<br /><br />how.do.u.learn.thru.such.self.glorification.parameters?<br /><br />&gt; These are mostly personal - but so is making art.<br /><br />+ the output of making.art? is it just for u alone?<br /><br />&gt;Why is new media<br />&gt; different? I am not sure that because we create using a readable language<br />&gt; it should be a requirement that we share it.<br /><br />so sad this obsession with ownership. cutting of the collective<br />hands.2.smite.the.code.face.<br /><br />hi-lights.political.fascistic.ends.seeded.in.greedy.liberalism.<br /><br />just…..*sigh*<br /><br />&gt; Is the art not enough?<br /><br />Is ur ego just.2.much?<br /><br />non-I'ingly,<br />][mez][<br />+Jason Van Anden replied:+<br /><br />I think I was just scolded but somehow I feel honored by the mez post.<br /><br />&gt;From mez and jeremy's posts I gather that if I prefer not to expose my<br />code I am either incredibly selfish or insecure. That the artist who<br />chooses to create art that requires programming has the added<br />responsibility to the community of sharing your code - and that if you are<br />unwilling to comply you should be disqualified from receiving funding.<br /><br />Doesn't this give more value to the code than the resultant art?<br />+Pall Thayer replied:+<br /><br />Hi Jason,<br />You're doing a lot of generalizing to make other's comments sound absurd<br />when they really aren't.<br /><br />Are you really afraid of derivative work? Can you honestly say that your<br />own work isn't in some way derivative? That's just the way the artworld<br />works and has always worked, and it's a good thing.<br /><br />Sure you love your code. I love my code, but when I release it, I hope<br />that it will be of use to someone. I hope that someone will create<br />derivative work. I can't imagine that someone will end up using it to<br />create projects identical to anything I'm working on and haven't made<br />public yet because, as you said, art creation is a very<br />personal process. I just can't imagine that someone will just happen to be<br />considering all of the same things that I am at the same time.<br /><br />Let's say you think your code may have some market potential. If that's<br />the case, then perhaps you should be looking for investors rather than art<br />grants.<br /><br />Art grants always come with strings attached. That's why you apply for<br />some and not others. But it looks to me like most of us consider the<br />open-source string, a noble one rather than an inhibiting one.<br /><br />I think that deep down, this really touches on the questions of why we<br />make art and who for (did someone already mention this?). Aren't we all<br />perpetual teachers and students? Isn't that the whole idea behind<br />maintaining a community such as we have on Rhizome? We feed off each<br />others ideas. We learn from each other, we teach each other and we<br />influence each other. This has been going on for several years, yet<br />there's still a lot of diversity in the work being created by our<br />community. If I generalize on your comments the way you've been doing with<br />other's, then by now, we should all be caught up in such a tight circle of<br />derivative work that it should be nearing the point of being identical.<br />But that's not the case.<br />+netwurker@hotkey.net.au replied:+<br /><br />&gt; From mez and jeremy's posts I gather that if I prefer not to expose my code<br />&gt; I am either incredibly selfish or insecure. That the artist who chooses to<br />&gt; create art that requires programming has the added responsibility to the<br />&gt; community of sharing your code - and that if you are unwilling to comply<br />you<br />&gt; should be disqualified from receiving funding.<br /><br />–qs break.down–re:guard.ing.my.&quot;assessment&quot;:<br /><br />Q: how du u n.tegrate the use of communally.disseminated.n.structive.data [ie<br />using a programming language not constructed.by.u with functions<br />not.structured<br />by u] with ur need 2 own.ur.own.code?<br /><br />A: &lt;n.sert here pls&gt;<br />+Jason Van Anden replied:+<br /><br />Hi Pall,<br /><br />I did not realize I was generalizing - thanks for pointing this out. I<br />don't think the other posts are absurd at all - I am really grateful for<br />this though provoking thread.<br /><br />I share Ethan Ham's re: re: (pasted here to make it part of this thread):<br /><br />&lt;ethan_ham&gt;<br /><br />Is there a bug in message board? Jason's posting text is readable when I<br />(or rather, my project emailerosion) receives it, but is gobbly-gook here<br />on the rhizome website.<br />&lt;comment&gt;I don't know why this happened but its kind of funny in the<br />context of the thread&lt;/comment&gt;<br /><br />My two-bits worth:<br /><br />I don't have a particular problem with a grant requiring any resulting<br />code to be open-source. It's their money, and if I don't want to<br />open-source the code on the project I don't have to apply.<br /><br />However, I also agree with Jason sentiment that it shouldn't be a general<br />expectation that artists who program should be automatically expected to<br />publish their code. That seems to be confusing (as Jason suggests) the<br />process with the result (i.e., the art).<br /><br />I don't think this is ungenerous. Frankly, if anyone wants to know how I<br />programmed a particular project, I'm happy to give pointers, sample code,<br />etc. But would feel more hesitant about turning over my entire source<br />code… I certainly respect artists who feel differently, I guess it's<br />just a matter of where one's boundaries lie.<br /><br />&lt;/ethan_ham&gt;<br /><br />I especially like the last paragraph - I am totally into sharing<br />techniques and code snippets that show how something is done - in fact I<br />would be psyched to do so if anyone expressed interest in seeing something<br />I have made. This is different than being obliged to publish the entire<br />source code for an art piece (which as I originally posted - creeps me out<br />a little).<br /><br />I get that you like to look at code. Perhaps this is another bad analogy<br />or sweeping generalization, but I liken this to a musician who will look<br />up the sheet music when he hears something that interests him. When I see<br />something that interests me, I look at it like a puzzle, and I get a kick<br />out of trying to figure out how to build it myself. Nothing wrong with<br />either approach.<br />+Jason Van Anden posted:+<br /><br />A: Am I to assume this same logic is what compels you to use your &quot;own&quot;<br />language to express your &quot;self&quot;? Does an author who uses words created<br />communally by his culture not have the right to own his story? Am I<br />generalizing again?<br />+netwurker@hotkey.net.au replied:+<br /><br />….am more.than.happy.2.chat. re:_self_x.pression.motivators + logic<br />_after_ an actual response 2 my ini.